Directors

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Filmes já exibidos na Mostra:

She was born in 1964 in Turin, Italy, daughter of industrialist Alberto Bruno Tedeschi and concert pianist Marysa Borini and sister to actress Carla Bruni. She is married with Italian filmmaker Mimmo Calopresti. She grew up in Paris because her family was persecuted by the communist Red Brigades. Her acting debut came with Paulette (1986), by Claude Confortès, and her first major role was in Hôtel de France (1987), by Patrice Chéreau. Among the almost 70 films in which she already participated are Queen Margot (1994), by Chéreau, Mon Homme (1996), by Bertrand Blier, The House (21st Mostra), by Sharunas Bartas, I Prefer the Sound of the Sea (24th Mostra), by Calopresti, 5x2: Five Times Two (28th Mostra), by François Ozon, the collective Tickets (29th Mostra), Time to Leave (2005), also by Ozon, Munich (2005), by Steven Spielberg, and A Good Year (30th Mostra), by Ridley Scott. Her directorial feature debut was Il Est plus Facile pour um Chameau... (2003).

Filmes já exibidos na Mostra:

VICTOR ERICE: THE POETRY OF LIGHT

Spanish filmmaker Víctor Erice is one of the rare cases where a short filmography is already enough to form a monumental body of work. With only three motion pictures in a more than four-decade-long career, Erice made films venturing from the philosophic to the spiritual, with characters rooted in their determined time periods, spaces and historic events, in which the lyricism and the light compositions in his shots give context to his personal, delicate and fable like films.

Born in Carranza, in 1940, Erice spent his childhood in San Sebastián. He studied film in Madrid, where he began working as a screenwriter. As a film critic, he wrote for the publications Cuadernos de Arte y pensamiento and Nuestro cine. In the 60s, he begins directing short and medium-length films, such as Páginas de un diario (1962), Los días perdidos (1963) and Entre vías (1966).

His feature film debut was The Spirit of the Beehive (El Espíritu de la Colmena, 1973), originally conceived as a horror film but turned into a more personal work, more distant from the fantasy genre, due to production restrictions. Today, the film is considered one of the most important in the history of Spanish cinema, bringing international recognition to lead actress Ana Torrent, who was only seven years old at the time.

In 1983, Erice directed El Sur (Critics’ Prize at the 8th Mostra), his second and last narrative feature. Considered an unfinished work by the director himself, the production, originally planned as an 81-day shoot, was interrupted after 48 days.

His third and last feature film to date is Dream of Light (El sol del membrillo, 1992, 16th Mostra), a portrait of the creative process behind the painting of Spanish realist painter and sculptor Antonio López. The film, a mix of documentary and fiction, received the critics’ and jury prize at the Cannes Film Festival.

During the last 20 years, Erice has made short films and segments for anthology films, including Ten Minutes Older: The Trumpet (2002, 27th Mostra), 3.11 Sense of Home (2011) and Historic Centre (2012, 37th Mostra).

Filmes já exibidos na Mostra:

Born in Silbodal, Sweden, in 1879. The son of a lumberjack, he emigrated with his parents to the U.S. when he was only one year old. The Sjöström family prospered in the district of Brooklyn where Victor lived until the age of seven. In his teens, he was beset with problems related to his father who had become a religious fanatic. With the death of his mother, in 1887, the boy decided to return once more to Sweden. He joined the world of theater, a profession he was not to abandon throughout all of his life, even when he became a film director. Sjöström`s only appearance on the screen to reach Brazil was his performance in the role of Isak Borg, a main character in Ingmar Bergman`s film Wild Strawberries (1957) - and was his last piece of acting for cinema. Sjöström also acted the role of an orchestra conductor in Till Glädje/ The Joy (1950), with Bergman as director. Sjöström directed 53 films - all of them silent movies, except for the last two (The Markurells of Wadköping, 1931, and Under the Red Robe, 1937). A good number of his films, however, were lost as a result of an outbreak of fire in the archives of the Svenska studios, where he began his cinematographic career, in 1912. His initiation into cinema, in fact, was by sheer chance. Sjöström was an actor in the theater and director of the Einar Fröberg repertory company, when a school friend called him to ask whether he would like to be a film maker. The Svenska studios, at that stage, were in a process of expansion and the young actor fell in the good graces of the Director General, Charles Magnusson. In 1912, Sjöström acted in The Black Masks and Vampyren, two films by his great friend Mauritz Stiller (a film maker acknowledged by a retrospective at the 27th Mostra). The same year, he directed his first film, a drama, The Gardener, an original script by the same Stiller. Right from his very first film, the new director was the source of controversy. The final scene, where the main character (Sjöström himself) practically rapes a young girl in a hothouse full of flowers was rated too explicit and the film was censored. The censors claimed that the scene was a "threat to public order". This did not seem a very promising start. But, in his second film, Ingeborg Holm (1913), the director attained success. Under pressure from his boss, Magnusson, to find a role for film star Hilda Borgström, whose contract with the studio was about to expire, Sjöström adapted a play by playwright Nils Krok, starting a trend he was to adopt throughout all of his career - adapting literature. The film was a great success and also wrought much controversy in the contemporary press, around his theme, namely rendering assistance to the poor. Critics were high in their praise of the realism of the narrative and the camera work by Henrik Jaenzon, together with his brother, Julius Jaenzon, one of the most consistent partners in this, his first phase as director. In 1916, he directed Sea Vultures, a drama with a court scene that became anthological, and Kiss of Death, a police story. It was with Terje Vigen (1917), however, an adaptation of Henrik Ibsen`s celebrated poem, that the film maker was at last acknowledged. More than that, together with Mauritz Stiller, he was raised to the condition of one of the exponents of the so-called Golden Era of Swedish cinema. One of the basic characteristics of his style was his faithful rendering of the literary masterpieces he adapted. Along these lines, he filmed four books by Selma Lagerlöf (1858-1940), winner of the Nobel Prize for Literature in 1909. The first of these was The Girl from Marsh Croft (1917), and the last, the celebrated Körkarlen (The Phantom Chariot, 1920), that Ingmar Bergman, even today, admits he sees at least once a year. Regarded as the height of the Swedish Golden Era, The Phantom Chariot was extremely long in producing, with a premiere only in 1921. The outdoor scenes were filmed at night, producing a somber, magical atmosphere as a setting for the story of David Holm (Sjöström himself), a man compelled to return once more from the world of the dead to save his family`s life. Nature is at the center of the narrative, almost a character in itself, and is one of the distinctive characteristics of The Outlaw and his Wife (1918). With the beautiful scenery covered in snow and the flight of the main characters running the length of gorges, the film was considered by French film maker Louis Delluc "the most beautiful in the world". The main character is, in fact, Sjöström himself, together with Edith Erastoff who eventually became his second wife. The director developed an epic in two parts as from only three chapters of Jerusalem, a novel by Selma Lagerlöf - The Sons of Ingmar (119) - a success that was seen by 196,000 people, almost one half of the population of Stockholm at the time - and Karin, Daughter of Ingmar (1920). Another constant partner to Sjöström was author and script writer Hjalmar Bergman. Together, they made five films, amongst these, A Dangerous Pledge (1920), Love`s Crucible (1922), and Fire Onboard (1923), the latter made in Sweden before he left for Hollywood. Sjöström moved to the U.S. on invitation of the head of MGM studios, Louis B. Mayer, in 1923. There, he became known under the name of Victor Seamstrom and made nine films, amongst these He Who Gets Slapped, with Lon Chaney, The Scarlett Letter (1927), and The Wind (1928) - both with film star Lillian Gish, who chose him as director, as also the actor who was to act with her, Lars Hanson, also from Sweden. Filming The Wind imposed a good deal of hardship on the cast and team when the director required that the outdoor scenes be made in the Mojave desert, with extremely high temperatures, in addition to the constant use of ventilators to produce a sandstorm effect. In her memoirs, Lillian Gish was to remember the occasion as "one of my worst experiences in filming". Even though he was overshadowed at the time by the recent introduction of spoken cinema (with O Cantor de Jazz, of 1927), The Wind was later to be regarded as one of the masterpieces of the director`s career. His last film in Hollywood was The Divine Woman (1928), a biography on film of actress Sarah Bernhardt, starred by Swedish actress Greta Garbo. Unhappily, this film was lost, with only one fragment remaining. In Europe, once more, Sjöström directed only two more films. The first in Sweden, once again, a story by Hjalmar Bergman, The Markurells of Wadköping (1931), released soon after the death of the script writer. His last film as director was made in England, Under the Red Robe (1937), an adaptation of the adventure novel by Stanley Weyman. In spite of various invitations to go back to directing, Sjöström always refused and remained solely as an actor. He acted in a further 18 films, working for directors such as Gustaf Molander (who had been his script writer in Terje Vigen), Tancred Ibsen, Arne Mattsson, and Ingmar Bergman. Sjöström died in 1960. Filmography as director 1912 O Jardineiro Cruel (Trädgardsmästaren /The Gardener/ The Cruelty of the World/The Broken Spring Rose) 1913 Ingeborg Holm (Margaret Day) 1916 Predadores do Mar (Havsgamar/Sea Vultures) 1916 O Beijo da Morte (Dödskyssen /The Kiss of Death) 1917 Terje Vigen (A Man There Was) 1917 The Girl from Marsh Croft (Tösen fran Stormyrtorpet/The Girl from Marsh Croft) 1918 O Fora-daLei e sua Mulher (Berg-Ejvind och hans hustru/The Outlaw and his wife/You and I) 1919 Os Filhos de Ingmar (Ingmarssönerna/The Sons of Ingmar) 1919 O Testamento do Conde (Hans nads testamente/His Lord’s Will) 1920 O Monastério de Sendomir (Klostret I Sendomir/The Monastery of Sendomir) 1920 Karin, Filha de Ingmar (Karin Ingmarsdotter/Karin Daughter of Ingmar) 1920 Garantia Perigosa (Mästerman/A Dangerous Pledge) 1921 A Carruagem Fantasma (Körkarlen/Thy Soul Shall Bear Witness/ The Phantom Chariot) 1922 Ritual do Amor (Vem Dömer/Love’s Crucible) 1923 Fogo a Bordo (Eld Ombord/Fire Onboard) 1924 Aponte o Homem (Name the Man) 1924 He Who Gets Slapped 1925 Confessions of a Queen 1927 A Carta Escarlate (The Scarlett Letter) 1928 Vento e Areia (The Wind) 1928 The Divine Woman 1931 Pai e Filho (Markurells I Wadköping/The Markurells of Wadköping) 1937 Under the Red Robe.

Filmes já exibidos na Mostra:

Born in October 1923, in Palermo, Italy. He started his career with documentaries focusing on life conditions for workers in Sicily and Sardinia such as Islands of Fire (1954), Best Documentary at the Cannes Film Festival, 1955 and Sulphur Mines (1955). Banditi a Orgosolo (1961) is his first feature and part of the Retrospective of Italian Political Cinema at the 30th Mostra. The film was awarded the Prize for Best First Film at the 1961 Venice Film Festival. He then made Half a Man (1966) and The Uninvited (1969). He also made films for TV such as Diary of a Schoolteacher (1973) and In Calabria (1993). In 2005, Martin Scorsese took De Seta to the Tribeca Festival organized by actor Robert de Niro. Letters from Sahara was awarded the City of Rome Prize at the 2006 Venice Film Festival. De Seta is one of the guests of honor at the 30th Mostra.

Filmes já exibidos na Mostra:

He was born in 1935, in Itabaiana, Paraíba. He is a filmmaker, journalist and ex-professor of Cinema at the University of Brasília. He began his cinematographic activity at the end of the 1950s, as a screenwriter and assistant to filmmaker Linduarte Noronha, in Aruanda (1960). He worked in Rio de Janeiro with directors Eduardo Coutinho and Arnaldo Jabor. He moved to Brasília, where, together with the photographer Fernando Duarte, he made a series of short films. In 1969, he directed the short film A Bolandeira, one of the references used by Walter Salles in the film Behind the Sun (2001). In 1971, he directed O País de São Saruê, his first feature-length film, prohibited by the censors and only released in 1979. Conterrâneos Velhos de Guerra was launched in 1991. In 2001, he made Barra 68 - Sem Perder a Ternura.

Filmes já exibidos na Mostra:

43ª MOSTRA INTERNACIONAL DE CINEMA

43ª MOSTRA INTERNACIONAL DE CINEMA